During pentecost holidays in North-Rhine-Westfalia from March 22nd 2018 - March 25th 2018 no training classes are held.
From March 28th the regular time-table applies.
For over 30 years the club for traditional Kung Fu, Taijiquan, Lion Dance, Dragon Dance, Self-defence and Qigong in Siegen, Germany.
The training programs of the Zhou Jia Quan Wushu offer an inexhaustible potential on activities. Beside breathing techniques, exercises, stamina training, self-defense, free sparring and historical subject matters, special emphases are placed on classical hand and weapon forms. The contents of these forms (Jap. kata, Chin. quanfa) are mainly self-defense techniques, which are based on techniques of the five animals. That is archetypal of this martial art. Every single one of these animal techniques marks the defensive as well as the offensive action of an animal. Each representing animal symbolizes it's own capability. The tiger is for power, the dragon for mental capability, the leopard for swiftness, the crane for flexibility and the snake for internal power. The Japanese Karate also applies these animal techniques, but not in this multitude and intensity as Chinese Wushu does.
In the first phase of training, the students learn at least five Zhou Jia Quan forms. Depending on individual talent and aptitude, the course last between four to five years and complemented with a final examination leading to black belt. Beginning with the basic forms the following forms would be complexer and more demanding. Through intensive and hard training with the forms, the students learn to improve their techniques and to adjust themselves to situation when countering opponents during sparring sessions. The vast range of methods allows a student to choose the one that suits best his preference, his possibility and requirement.
An almost 'subordinate aspect' of this form of training is that certain characteristics like suppleness, perserverance, reaction speed, stamina, perceptibilty are pronounced improved and aggression gradually reduced. Another important aspect is the conduct that a Zhou Jia student learns during this phase of training. This conduct makes it possible to create a close and familiar relationship amongst the students during training and also serves as guideline for the daily life outside the school.
No aggressive behaviour against our fellow-men!
The Traditional Chinese Wushu that the Nia Kwang Pugilistic Association practices and promotes is called ‘Zhong Wai Zhou Jia.‘ At the time of its inception, the particular style of Wushu was labelled because the essential technic incorporated with the muscular and mighty movements of Hong Jia Wushu, the swift footwork of Cai Jia Wushu, making it a very effective form of self-defence with emphasis on simultaneous attack and defence.
The origin of Zhou Jia Wushu system, started with Grand Master Zhou Long, who is of Sha Fu dialect and born in 1891, Guangdong Province, Xinhui Village, China. With his creative thinking, he had contributed to Zhou Jia Wushu’s emergence in the 1920‘s. That was a dominant force for nearly half a century in Guangdong Province.
Grand Master Zhou Long came from a big family of ten. He was the fifth child and eldest son in the family, with four younger brothers. The sixth Zhou Xie, the eigth and ninth are twins, Zhou Biao and Zhou Hai, the last was Zhou Tian. Young Zhou Long had great interest in Wushu. Therefore, he tried to absorb all he could learn from his from his uncle Zhou Geng (Zhou Hong) who practised Shaolin Hong Quan Wushu and he ended up being the best among the brothers. Furthermore, Zhou Long went round the village asking and learning from other ‘Hong ‘ style practitioners and therefore learnt and understood more ‘Hong‘ style wushu.
One day, while Zhou Long was practising in front yard of his home, an old man who was passing by, noticed him and stopped to ask how long he had been practising wushu. After some conversation, the old man said he would like to teach Zhou Long his kind of wushu. Zhou Long consulted his father and the old man was introduced. Surprisingly this old man, Master Cai Jiu Yi was a wushu expert in ‘Cai Jia Quan.‘ With permission from his father, Zhou Long was allowed to study and learn Cai Jia Wushu under Master Cai Jiu Yi. Having some basic knowledge of Hong Jia Wushu, it took Zhou Long only a few years to master the Cai Jia Wushu.
In the year 1910, because of family hardship, he left home for Kuala Lumpur in Malaysia to seek employment. Coincidentally, Zhou Long met an Abbot, Reverend Hong Yi who took Zhou Long as his disciple to study his Bei Pai Wushu ( a style practised by the people in the northern part of China, specialised in kicking, jumping and fast leg movements ). Reverend Hong Yi advised Zhou Long to blend all the three styles together in order to perfect a style to suit himself better.
In the year 1915, Zhou Long returned to China, participated in a tournament and won. He was then appointed Chief Instructor of the army of Warlord General He Fu Qiao. Zhou Long sent for his brothers to assist him in the training of the soldiers. In 1917, Grand Master Zhou Long set up his first school at his hometown ( Xinhui ) and named it ‘Zhou Ren Yi Tang’. Together with the help of his brothers, Grand Master Zhou Long pooled all their learnings together and a new form of wushu was born. As the surname of the five brothers are ‘Zhou’, they decided to name this new style of wushu ‘Zhou Jia Quan’ (Zhou Family Style of Wushu).
Not forgetting his root and the Masters that had taught him wushu, Grand Master Zhou Long often told all his students that his form of wushu was ‘ Hong Tou Cai Wei’ ( Hong Head and Cai Tail ), Hong Style first and then followed by Cai Style, but of equal terms.
With countless effort and united spirit in spreading this new style of wushu, popularity grew. The five brothers were honoured and labelled as the ‘Five Tigers of Zhou Jia’. Just as Grand Master Zhou Long was at the peak of his career, he caught a cold and fell ill. Thinking that he was strong and healthy, he paid no attention to his illness. Coupled with pressure from his work, Grand Master Zhou Long’s health deteriorated rapidly. In fact, he contacted pneumonia. Grand Master Zhou Long was beyond medical help and passed away at the age of 28, in 1919.
After the death of Grand Master Zhou Long, the Wushu School was in disarray. A family meeting was called and Grand Master Zhou Biao was elected as the new leader. Grand Master Zhou Biao resigned his post from the army and started promoting Zhou Jia Wushu. Within a year, he set up fourteen Zhou Jia Wushu schools around China.
In 1936, the Zhou Jia Wushu School was invited to Hong Kong to particpate in the Coronation of King George VI of England. With this great opportunity to promote Zhou Jia Wushu, Grand Master Zhou Biao led a team of friends and students to Hong Kong. The demonstration was well received and it was a big success. A school was then set up in Kowloon, Hong Kong, to promote Zhou Jia Wushu. Grand Master Zhou Biao was also invited by the Garment and Medical Merchant Association to be their Wushu Instructor during his stay in Hong Kong.
In the same year, Grand Master Zhou Biao renamed the school in Hong Kong to ‘Zhong Wai Zhou Jia’ ( meaning Outside China Zhou School ). As it was the first school to be set up outside China, Grand Master Zhou Biao preferred to differentiate the origin.
Grand Master Zhou Biao returned to China at the time when this was facing the beginning of the Second World War and the rise of the Communist Party. After much consideration and planning, the Zhou family migrated to Hong Kong in 1949.
In Hong Kong, Grand Master Zhou Biao rented a place near the harbour and was engaged by the Fishery Port Association to be their Chief Instructor. He taught all it’s members, comprising of the fellow fishermen and workers. At the same time Grand Master Zhou Tian also set up a school at the busy Huang Da Xian District, Hong Kong.
During this period Zhou Jia Wushu was then modified to practical self-defence and body conditioning with a wide new range of hand and weapon forms. It was then taught to the students and together with the traditional Lion Dance.
On 14th March 1961, Grand Master Zhou Biao passed away after a short illness.
Although Zhong Wai Zhou Jia Wushu has only a short history, the number of students practising this form of wushu is innumerable. Today there are many schools and associations in China, Hong Kong, South East Asia, Australia, America and in Europe promoting and spreading the Zhong Wai Zhou Jia Wushu.
Zhou Jia Quan refers to the martial arts style of the Zhou family and is also described as ‘‘Hong Tou Cai Wei‘‘. Which means: ‘‘Hong‘‘ ...beeing the heading, ‘‘Cai‘‘ ...as the ending.
Master Zhou Long learnt the Hong Jia Quan from his uncle Zhou Hong, the Cai Jia Quan from Master Cai Jiu Yi and the Bei Pai Shaolin Quan from the buddhist monk Reverend Hong Yi.
He combined all three systems and developed the Zhou Jia Wushu.
This family-tree is completed to the best of our knowledge.
Should we have not included anyone, please contact us!
The style of lion dance that the Singapore Nia Kwang Pugilistic Association Germany e.V. practises is referred to as He Shan lion (Heshan Shi). This form of folk art was started long time ago during the period when eight countries were battling in China to gain power. After the war the Chinese created this lion dance as a sign of victory over their enemies. It is therefore also known as ''Shengli Shi''or the victory lion.
Under the lion costume there are two dancers. One dancer under the head operates the eyes, the ears and the mouth. This head is made of bamboo mesh and paper. Under the body of the lion, which is made of cloth, the other dancer performs the back and tail function. The head and the body of the lion are joined by strings. Every movement of the lion has a meaning. Kung Fu schools apply step patterns and drumming rhythm to demonstrate the different expressions of the lion. The lion dance team includes musicians to perform the drum, the gong and the cymbals.
The acrobatic movements required for the lion to reach the holy green demand a very high degree of body control and co-ordination on both partners. This can only be accomplished through hard and intensive training. Before the dancers practise under the lion costume one has to practise the basic movements and acrobatic jumps of the lion. Therefore a solid foundation in traditional kung fu is required to practise the lion dance.
The laughing big head Buddha (Da Tou Fo) is also a very demanding role to play. The person playing it must be very athletic and perform movements like an acrobat by doing jumps and various Kung-Fu moves. The player must wear a mask which is usually painted pink (white for a female) over his head. He must also wear a robe and carry a fan which is made up of a palm leaf.
There are three different instruments in the traditional lion dance namely the drum, the cymbals and the gong. They support the lion's movements and emotions and therefore must be practised very precisely in extra lessons.
The lion dance team of the Singapore Nia Kwang Pugilistic Association Germany e.V. practises the lion dance since 1991 and is one of the oldest teams in Europe. It is under the guidance of the Singapore Nia Kwang Pugilistic Association which is very famous for its dragon and lion dance in Southeast Asia. Chief Instructor for lion dance at the Singapore Nia Kwang Pugilistic Association is Master Yu Tuck Seng. He has lead his teams to numerous prizes on national tournaments and is an acknowledged expert for traditional lion dance. Hence he was also invited to teach overseas lion dance teams many times.
Master Choo Chuan Chew, a student of Master Yu Tuck Seng, is instructor for dragon and lion dance at Singapore Nia Kwang Pugilistic Association. Besides that he is also responsible for coaching and advising the overseas branches, so as for the Singapore Nia Kwang Pugilistic Association Germany e.V. in Siegen.
The lion dance is a folk art steeped in the tradition of the Chinese people. The origin of this form of expression of the Chinese culture is rather old, that the track is lost in the darkness of history. One legend traces back to the Tang dynasty (618-906 AD). Legend has it that the emperor had a dream one night in which a strange looking animal saved his life. The next morning the emperor described the dream to his ministers. One minister told the emperor that the strange animal resembled a creature from the West, a lion. Since the strange animal saved the emperor in his dream the lion quickly became a symbol of good luck throughout China. It was believed that a dancing lion chases away evil spirits. Even today the myth that the lion brings luck and symbolises might still remains.
Lion dances can be broadly categorised into two styles, Northern and Southern .Northern lion dance was used as entertainment for the imperial court. The northern lion is usually red, orange and yellow (sometimes with green fur for the female lion), shaggy in appearance, with a golden head. The northern dance is acrobatic and is mainly performed as entertainment.
Southern lion dance is more symbolic. It is usually performed as a ceremony to scare away evil spirits and to summon good luck and fortune. The southern lion distinguishes from the northern lion and his appearance is more abstract with different variations and different colours which all have a specific meaning. The southern lion head has large eyes, a mirror on the forehead, and a single horn at the centre of the head.
Canton is the homeland of the southern style which can be further divided into 5 substyles, namely Fo Shan/Fat San (Buddha Mountain), He Shan/Hok San (Crane Mountain), Fo He lion/Fat Hok (a hybrid of Fo San and He San), Zhou Jia (performed by practitioners of Zhou family style kung fu) and the so-called Green Lion (Qing Shi - popular with the Fukien/Hokkien and Taiwanese People).
While the Fo Shan lion looks very fierce and has a very long tail the He Shan lion looks more friendly and has a much shorter tail which allows him to perform much more acrobatic elements such as jumping on the tail's performer's legs or on benches.
Before a new lion can be used in practise or performance the lion must be brought to life. For this purpose a special ceremony ("opening the eyes of the lion") must be held in which a master of ceremony has to awake every part of the lion's body. After that the lion comes to life it has to perform a special routine.
The lion's main task in order to bring luck and wealth is an assignment which he has to execute. To begin, he would look out to the feed or the 'green' (in form of vegetable or oranges) and with playful and tentative steps, maneuvers slowly towards the goal. Here the lion would show his emotions like fear, fright, amazement, joy, sadness etc. After eating the 'green', he notices that it is sacred and would fall into a state of drunkenness or trance whereby he finally spits it out again. On his way to the 'green' the lion has to overcome many obstacles like poisonous animals (snake, centipede, scorpion) that block his way, word puzzles that the lion has to solve or other barriers like mountains (built with benches) or water that the lion has to overcome. The way the lion gets to the green shows the skill of the performers. But in doing so certain rules and routines must always be obeyed.
Another important aspect in southern lion dance is the laughing big head Buddha (Da Tou Fo). The buddha is a Chinese monk. He plays with and also teases the lion. He must lead the lion to the green, called the lion's qing, which the lion tries to catch and eat. This denotes good luck. The lion, depending on it's mood, will either play with, chase, bites, and/or kicks the buddha around.
Kung Fu or Wushu schools which cultivate and preserve this tradition perform the lion dance on great occasions like the Lunar New Year, opening ceremonies of business shops, weddings, state receptions, religious festivals and ceremonies etc. and is accepted by major cities around the world.
This family-tree is completed to the best of our knowledge.
Should we have not included anyone, please contact us!
The dragon, a talisman in the Chinese mythology, is widely worshipped in Asia. In the western world it is often regarded as an evil and dangerous creature, but for the Chinese the dragon is just the contrary. In both cases the dragon symbolizes Supernatural and Power and especially the Chinese dragon stands for Might and Inner Strength. The dragon is regarded by many Asian authors, artists, craftsmen and the public as the King of Nature. For the past 1000 years the continuation and development of the dragon dance have followed a tortuous route.
The dragon dance is performed on Chinese New Year, grand business openings, taoistic festivals and on other ceremonial events. It brings luck, health and prosperity. The dragon is usually made of light wooden frames in segments and covered with cloth, mirrors and embroidery depicting the scales of the dragon. The head is made of bamboo frames and covered with layer of silk or cloth. It has a large mouth with a flexible lower jaw. The whole dragon is moved by kung fu students with the help of poles which are fixed on the segments.
The dragon dance shows the dragons effort to get the pearl of wisdom. The dragon chases the pearl which is also carried by a martial artist. Characteristic drum and cymbal music underlines and supports the choreography of the dance.
Tai Chi Chuan or Taijiquan in the Chinese character can be translated as the 'Supreme Ultimate Force'. The notion of 'supreme ultimate' is often associated with the Chinese concept of Yin and Yang, the notion that one can see a dynamic duality in all things. 'Force' or here the character 'Chuan' refers to a school or method of combat and can be thought of here as the means or way of achieving this yin-yang, or 'supreme-ultimate' discipline.
Today, Tai Chi is also practiced in the west, although at the time of its development, Tai Chi, a potent art was dedicated only to a few families who kept this to themselves. Tai Chi Chuan, as it was originally conceived, contains movements from the martial arts. The method of fighting in the martial arts involves dynamic interacting forces. Neutralizing and countering an opponents force requires an interplay of energies. This is a true expression of Tai Chi.
For many practitioners, the focus in Tai Chi is the meditative exercise for the body and for physical health. For others, the martial aspects of Tai Chi are of considerable interest. Anyway, all of the major Tai Chi styles place great emphasis on the meaning of the movements through applications training.
In the Chinese philosophy and medicine there exists the concept of 'Chi', a vital force that animates the body. One aim of Tai Chi is to cultivate and nurture this chi circulation within the body. By doing so, the health and vitality of the person are enhanced as the patterns of this chi circulation is related to the nervous and vascular system and resemble that of the practice of acupuncture and other oriental healing arts.
Through the focused and precise execution of the exercises, one learns to acquire a calm and transquil mind. This can lead to a better understanding of the body balance, alignment and fine motor skills. Many medical practitioners therefore encourage the practice of Tai Chi Chuan as this is very beneficial to health, both, for the young and the young at heart.
The Singapore Nia Kwang Pugilistic Association Germany e.V., also known as Nia Kwang Ying Yong Tang, is an official registered association that promotes Chinese culture and the traditional martial art Zhou Jia Quan kung fu. The headquarter is in Siegen, Germany with its roots going back to Singapore.
Master Lim Chin Kim from Singapore, a student from Grandmaster Mai Zhi, opened his first kung fu school in 1961. In 1964 it was officially named Singapore Nia Kwang Pugilistic Association. The disciplined and very tough lessons were conducted by Master Lim Chin Kim himself. Very soon the good quality of the training was appreciated by the people in Singapore and parents send their children to study kung fu. Shortly after that classes for traditional lion- and dragon dance were offered. Besides that the medical care for the students was also secured. Due to Master Lim Chin Kim's dedication, strong efforts and his personality the association became one of the most popular kung fu clubs in Singapore.
In 1974 Master Seet Chor Thong was sent from his native country Singapore to Germany to undergo a technical training. From his early youth on Master Seet Chor Thong was fascinated by Chinese kung fu and hence he studied under several Masters martial arts. During his school days he learned Judo. Together with his cousin he studied traditional Yang style Taiji Quan. Amongst others he studied the Khong Chang system under Master Tan Seng Lee. Three years later he learnt Shangdong Praying Mantis Kung Fu from Master Wong Kok Keong. From 1975 on he studies southern Zhou Jia Quan kung fu. In the beginning from Timothy Tay, later from Master Lim Chin Kim.
During his stay in Germany Master Seet Chor Thong taught several students the kung fu from his Master, Master Lim Chin Kim at a martial arts school in Hagen. At that time traditional kung fu was not very well known in Germany and Master Seet Chor Thong was one of the first persons to teach Chinese martial arts in Germany. The number of his students increased very fast so that a class in Cologne was opened in 1975. In 1977 Master Seet Chor Thong finished his technical training and went back to Singapore. One of his first students, Master Frank Greinacher continued the kung fu teaching in Germany. In 1980 Master Seet Chor Thong came back to Germany. Because of the rising popularity of the Zhou Jia Quan kung fu in Germany (in 1980 a school in Siegen was established, as well as in 1981in Dillenburg and Wetzlar) Master Seet Chor Thong decided to stay in Germany. Together with Master Yeo Lian Hock and Master Heng Keng Huat (both students from Master Lim Chin Kim as well) and Master Frank Greinacher, they founded the first Nia Kwang school in Gevelsberg. Additional schools were set up in 1983 in Witten and Siegen, in 1985 in Hasslinghausen and in 1992 in Bonn.
The Singapore Nia Kwang Pugilistic Association Germany e.V was officially established in 1983 in Siegen with Master Seet Chor Thong as chief instructor. With the blessing from his Master, Master Lim Chin Kim the kung fu school bestowed the additional honoured name Nia Kwang Ying Yong Tang (which means hall of courageous heroes) in 1990. Since that time Master Lim Chin Kim often travels to Germany to visit his students and teach the Zhou Jia Quan kung fu style to them. In return the German school regularly organises training trips to Singapore for the German students so that they can practice at the Singapore Nia Kwang Pugilistic Association together with Master Lim Chin Kim.
Since 1990 the traditional southern Heshan style lion dance is part of the training at the Singapore Nia Kwang Pugilistic Association Germany e.V in Siegen. The association belongs to the first who practice the traditional lion dance in Germany and was very successful at national and international competitions over the last 20 years. In the year 1996 a Taiji Quan class was formed where the authentic Yang style is taught. Since 2005 there is also a class for traditional dragon dance.
For the period of one week we offer you a trial-training of all activities. This is of course free of charge and without obligations. Go to the Training time-table.
Please come with comfortable sports wear and light gym shoes.
Regardless of age, everybody is welcome!
Beginner & advanced class
6 p.m. - 7 p.m.
Beginner & advanced class
8 p.m. - 9.45 p.m.
Beginner & advanced class
8 p.m. - 9.45 p.m.
Zhou Jin Bo born in 1925, was brought up in Ma Yuan village, Xinhui city in Guangdong province. He lost his father while he was six years old. Two years later, he followed his mother to Jiangmen city. Here he learnt that a famous teacher, named Zhou Biao was operating a martial art school, the Zhou School Ren Yi Tang No. 9 branch. His love for martial art brought him to the school every evening to watch the others practice and to try to imitate their movements.
His actions didn’t remain unnoticed. Master Zhou Biao realized Zhou Jin Bo’s love for martial art and proposed to Zu Hua and Li Niu to accept Zhou Jin Bo as a student of the Zhou school. Just at the age of ten, he now formally became a disciple of Zhou Biao.
In 1939, due to poverty, Zhou Jin Bo together with his mother, was forced to leave Jiangmen city for Hong Kong. Five years later, they returned to Jiangmen city. Through a senior member of the Zhou school, he was recommended an apprentice job at a goldsmith shop. Coincidentally the owner was a council member of the Zhou school and from there onwards he could resume training under the shopkeeper’s tutorship.
1946 Zhou Biao arranged for Zhou Jin Bo to Xinhui county to set up schools in both the Jing Gen and the Heng Shang villages and to teach there.
1947 Zhou Biao again arranged for Zhou Jin Bo to Nanhai Jiujiang to re-open a Zhou school (the school was then named: Zhou Guan Ren Yi Tang – Jiujiang Ying Yong Tang). Fu Chao Guang was appointed to teach in Jiujiang until the liberation in 1949.
During those uncertain periods, Zhou Jin Bo went through many hardships struggling with different jobs to support the family.
1971 Zhou Jin Bo was posted to work in a distillery in Jiujiang. As work wasn’t too stressful in the day, the evening would be spent teaching martial art at a nearby field. The students returned and training resumed under Zhou Jin Bo. Later as the field was no more available for training, the group moved to Zhou Jin Bo’s home garden to continue their engagements.
In April 1997, upon the invitation of Master Chan Man Cheung (Chen Wan Xiang), a delegation from the Singapore Nia Kwang Pugilistic Association led by Master Lim Chin Kim travelled to Hong Kong. During our stay in Hong Kong, Master Chan contacted Master Zhou Jin Bo in Jiujiang and an arrangement was made for the Singapore delegation to visit Master Zhou at his homeplace.
Arriving in Jiujiang, we were greeted with warm cordiality by the Jiujiang Shang Dong Amateur Physical Association. An exchange on martial art knowledge and the observation of the activities in Asia and in Europe dominated the main conversations. Master Zhou took the opportunity to introduce us the martial art that he practiced and also taught us in Zhou Jia Lion Dance.
Together with his students and other members of the school, Master Zhou spared no expense to make our stay in Jiujiang a memorable one. The hospitality extended to us was so fascinating that another trip to Jiujiang to visit Master Zhou was thereupon decided.
The second trip to Jiujiang took place in February 1998. A group of five persons from the Singapore Nia Kwang Pugilistic Association Germany visited the Jiujiang Ying Yong Tang Zhou Guan School. This time round, Master Zhou, impressed by the enthusiasm of the German students, devotedly impart some Zhou Jia martial arts to them. We stayed in Jiujiang for a couple of days and Master Zhou taught us several hand forms and explained the applications of the different techniques of the Zhou Jia martial art.
During our stay in Jiujiang we were given the chance to learn to know Master Zhou better. His kindness and unbiased manner showed us what makes a person great. His generosity and selflessness impressed us most.
The friendship between the two schools has since deepened. An invitation to visit Germany extended to Master Zhou and his followers was promptly accepted.
May 25th, 2000 was an exciting day for us as we welcomed Master Zhou and his delegation at Frankfurt Airport. Accompanying him on this trip were his family members, as well as the town mayor of Jiujiang.
Though the journey from Guangdong to Europe was long and tiring, Master Zhou did not take too much time off to rest and commenced lessons to his German students to pursue the studies of the Zhou Jia martial art.
The stay in Germany was not mainly confined to martial art training. Home visits and a tour of Europe were integral part of the trip. Here we had much time to learn more about each other.
I recall one amusing incident when the troupe was touring Italy with a student from Siegen. Due to language barrier, ordering meals in an Italian restaurant wasn’t easy then. But this didn’t hampered his son, Zhou Bo Rong from calling me up to help order the meals in Italy through the phone.
Master Zhou and his delegation left Europe on June 11, 2000 and the farewell at the airport saw many wet eyes. The person left, but the spirit of the martial art remains. Most of all, the impressions of such a wonderful person.
Master Zhou Jin Bo passed away peacefully on Dec 08, 2001. The legacy he left behind is one of invaluable significance to the martial art world.
To date, the school still exists under the name of Jiujiang Shang Dong Amateur Physical Association.
Author: Seet Chor Thong
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Gymnastikraum Bertha-Von-Suttner-Gesamtschule (Entrance C001)Kolping Straße 35
Alte Halle am HengsbergAm Hengsberg 20
Singapore Nia Kwang Pugilisitic Association Germany e. V.Birkenweg 9
Singapore Nia Kwang Pugilistic Association Germany e. V.
Telephone: +49 (0) 271 382352
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Registering court: Amtsgericht Siegen
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Should you send us questions via the contact form, we will collect the data entered on the form, including the contact details you provide, to answer your question and any follow-up questions. We do not share this information without your permission.
We will, therefore, process any data you enter onto the contact form only with your consent per Art. 6 (1)(a) DSGVO. You may revoke your consent at any time. An informal email making this request is sufficient. The data processed before we receive your request may still be legally processed.
We will retain the data you provide on the contact form until you request its deletion, revoke your consent for its storage, or the purpose for its storage no longer pertains (e.g. after fulfilling your request). Any mandatory statutory provisions, especially those regarding mandatory data retention periods, remain unaffected by this provision.
Our website uses plugins from YouTube, which is operated by Google. The operator of the pages is YouTube LLC, 901 Cherry Ave., San Bruno, CA 94066, USA.
If you visit one of our pages featuring a YouTube plugin, a connection to the YouTube servers is established. Here the YouTube server is informed about which of our pages you have visited.
If you're logged in to your YouTube account, YouTube allows you to associate your browsing behavior directly with your personal profile. You can prevent this by logging out of your YouTube account.
YouTube is used to help make our website appealing. This constitutes a justified interest pursuant to Art. 6 (1) (f) DSGVO.
Further information about handling user data, can be found in the data protection declaration of YouTube under https://www.google.de/intl/de/policies/privacy.
For uniform representation of fonts, this page uses web fonts provided by Google. When you open a page, your browser loads the required web fonts into your browser cache to display texts and fonts correctly.
For this purpose your browser has to establish a direct connection to Google servers. Google thus becomes aware that our web page was accessed via your IP address. The use of Google Web fonts is done in the interest of a uniform and attractive presentation of our website. This constitutes a justified interest pursuant to Art. 6 (1) (f) DSGVO.
If your browser does not support web fonts, a standard font is used by your computer.